Gruesome
Savage Land
(Relapse Records)
This gruesome tale begins when Matt Harvey, guitarist of Dekapitator/Exhumed, and Gus Rios, drummer of Malevolent Creation decided that they should make death metal in the vein of early Tampa days. As they honed their ideas to emulate the Morris Sound, Daniel Gonzalez, of Bay Area forefathers, Possessed, joined the mission. To round out the group, Robin Mazen, of Derketa/Castrator, signed up to supply the low end strings.
Talent, spirit and history established, Gruesome’s execution of golden era death metal is obviously on point. To get the mindset appropriate, the band went to Fort Lauderdale to Riversound Studios. Rios and Gonzalez handled production/recording duties. Handing these eight tracks over to Jarrett Pritchard at Mana Studios in St Petersburg to be mixed sealed the Florida pedigree. By track two, “Trapped in Hell”, the Death influence is blatant. The structure of jazz staggered riffs whisking into double bass rhythms and thick riffs show the roots. But Gruesome prove to rise above rehashing legendary ideas. Spurts of double time instrumentation mixed with tight riffing and growls culminate to punch the chorus.
Lyrically, Savage Land is what a death metal fan (and a Matt Harvey) fan should expect. Subjects of genocide, insanity, horror, evil, disfiguration and death are all explored. “Psychic Twin” is a fun read. Tracks incorporate phrases such as “Demonized”, “Raped by darkness, you writhe in pain/ Holy Pages, burn in Hell’s flames”. The title track reflects the terrifying environment of Ed Repka’s (Death, Megadeth, Massacre) depraved environment of cannibals. “Tied and bound to bloody stakes/Death and life is theirs to take”
I don’t want to over play the Death homage here. I want to give the arduous labor of Rios’ production and Harvey’s skilled writing (as well as everyone’s playing) its proper accolades. The screeches of Gonzalez’s lead harmonies and solos make me appreciate the six strings beyond the riffs. Rios drumming is something to be hailed, for sure. It adds a depth and degree of sound that envelopes the listener. The one downside is the lack of bass in the mix, I personally would want it to be pushed harder; but it is there for guitars to find their foundation.
Harvey’s songwriting challenges (graciously) all members’ abilities, especially Rios’; embracing the dynamic structures of the tracks. Pushing speed in “Hideous” is impressive, particularly the final jaunt with a heavier riff. The myriad times changes across Savage Land ensure now boredom in any listener. “Gangrene” follows a blistering solo with a Harvey tormented scream as the drums plod slowly. These varied aspects showcase skill and move the album along.
I don’t want to over emphasize the Death homage, but Chuck’s spirit is all through this album. This is fortified in the thank you list. Harvey and Rios thank Chuck’s work, music and spirit. They thank all Death members and elaborate on their connection. “It is absolutely done in his honor,” writes Rios, attributing this project to Chuck. The entire spectrum of those Florida days, Obituary, Morbid Angel, and more come into play on Savage Land. I am not going to say this is refreshing or new, but it is an injection of a sound’s legacy; and done with severe respect and savage intensity. (Hutch)
